Jewel Robbery (1932)
If you haven't seen why Pre-Code films are a riot—and very very well made— watch this one. Here the sassy, sexy, glammed up heist of a jewelry store becomes a game of manners and courtship. Jewels do in fact get stolen, but that's so not the point of the movie.
Centerpiece is William Powell, the superstar status still to come with his "Thin Man" and "Godfrey" roles. He's in top form, always a bit peculiar but really lovable and suave because of it. One of a kind.
Equal to him is Kay Francis, who is alive on screen like few actresses, and a great foil to Powell's cool. If Powell is still famous, Francis is not, and the reasons are not clear. (She was labeled "Box Office Poison" in a famous 1938 article, but that same piece labeled Joan Crawford and Kate Hepburn as well, both of whom had hardly begun their mature careers.) But Francis is a wonder in her heyday and you may as well start here to get why. (She was for years in the 1930s the highest paid actress bar none.)
So if you aren't convinced to see this yet, take the set design, the tightly engineered photography and editing, and the overall direction by William Dieterle, who is an underrated master of the classic Hollywood years. Again, just see this for proof.
As for the Code and its effect here, listen to the banter, which is fast and loaded with double entendres. No one skips a beat, and the fast swirl never gets confusing. Really a remarkably packed 70 minutes.
If you haven't seen why Pre-Code films are a riot—and very very well made— watch this one. Here the sassy, sexy, glammed up heist of a jewelry store becomes a game of manners and courtship. Jewels do in fact get stolen, but that's so not the point of the movie.
Centerpiece is William Powell, the superstar status still to come with his "Thin Man" and "Godfrey" roles. He's in top form, always a bit peculiar but really lovable and suave because of it. One of a kind.
Equal to him is Kay Francis, who is alive on screen like few actresses, and a great foil to Powell's cool. If Powell is still famous, Francis is not, and the reasons are not clear. (She was labeled "Box Office Poison" in a famous 1938 article, but that same piece labeled Joan Crawford and Kate Hepburn as well, both of whom had hardly begun their mature careers.) But Francis is a wonder in her heyday and you may as well start here to get why. (She was for years in the 1930s the highest paid actress bar none.)
So if you aren't convinced to see this yet, take the set design, the tightly engineered photography and editing, and the overall direction by William Dieterle, who is an underrated master of the classic Hollywood years. Again, just see this for proof.
As for the Code and its effect here, listen to the banter, which is fast and loaded with double entendres. No one skips a beat, and the fast swirl never gets confusing. Really a remarkably packed 70 minutes.